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Whitney Museum of American Art 




Digitized by the Internet Archive 

in 2013 



http://archive.org/details/lyabstractiOOwhit 



c Lyf-icaj 
cAfistraction 



c Lyt'ical 



Gift of the Larry Aldrich Foundation 



Whitney Museum of American Art, New York 
May 25- July 6. 1971 



cA6straction 



Trustees 



Flora Whitney Miller. Chairman 
David M. Solinger. President 
Flora Miller Irving. Vice President 
Alan H. Temple, Secretary and Treasurer 

Arthur G. Altschul 

John I. H. Baur 

B. H. Friedman 

Lloyd Goodrich 

W. Barklie Henry 

Susan Morse Hilles 



Michael H. Irving 

Howard W. Lipman 

G. Macculloch Miller 

Mrs. Laurance S. Rockefeller 

Robert W. Sarnoff 

Benno C. Schmidt 

William M. White. Jr. 



Gertrude Vanderbilt Whitney. Founder 
Stephen E. Weil, Assistant Secretary 



Museum Staff 



John I. H. Baur, Director 

Lloyd Goodrich, Consultant 

Stephen E. Weil, Administrator 

Robert M. Doty. Curator 

Margaret McKellar. Executive Secretary 

and Registrar 

James K. Monte, Associate Curator 

Marcia Tucker. Associate Curator 

David Bienstock, Curator of Film 

Elke Solomon, Assistant Curator of Prints 

Libby W. Seaberg. Librarian 

Elizabeth Streibert, Research and Cataloguer 



David Hupert. Head, Education Department 
Leon Levine. Public Relations 
Margaret M. Watherston, Conservator 

Wilbur C. Ashman. Controller 

Jessie Morrow Mohrmann. Personnel Supervisor 

Denny Judson. Executive Secretary, Friends 

of the Whitney Museum of American Art 

Dons Wilk Palca, Sales & Information 

Marie Appleton 

John Murray. Building Manager 

John E. Martin, Head Preparator 

Robert F. Clark, Chief Security Officer 



Whitney Museum of American Art 
945 Madison Avenue. New York. N.Y. 10021 



Published in the United States of America in 1 971 

Library of Congress Catalog Number : 73-1 62569 

All rights reserved 

Copyright © 1 971 by the Whitney Museum of American Art. New York 



Foreword 



To be given an entire exhibition surveying a current trend in American art at a single blow 
is an experience unusual to the verge of the bizarre. Yet that is what Larry Aldrich pro- 
posed one rainy afternoon last spring in the galleries of the beautiful Aldrich Museum of 
Contemporary Art in Ridgefield, Connecticut. Needless to say. his offer was accepted with 
alacrity and gratitude. These 38 paintings are now. therefore, a part of the Whitney Museum's 
permanent collection and are here shown for the first time as recent acquisitions. 

In the accompanying statement reprinted from the catalogue of the Ridgefield 
exhibition. Mr. Aldrich defines the trend of Lyrical Abstraction and explains how he came 
to acquire the works. Since his show ended, it has been seen at the Civic Center Museum 
in Philadelphia and the Phoenix Museum in Arizona. It then came to the Whitney where 
several artists proposed an exchange of works — generally for the purpose of substituting 
more recent examples of their painting. With the donor's approval, these exchanges were 
made and are so indicated in the catalogue. All other works are those selected by Mr. 
Aldrich for the Ridgefield showing. 

I only wish there were more space to describe the great contribution which this 
small museum has made through its series of brilliant exhibitions devoted largely to the 
young avant garde in American art. Suffice it to say that they are the reflection of the founder's 
taste, his unorthodox methods, his unconcern with established reputations and above all 
his responsive and perceptive eye. 

We are grateful to Larry Aldrich not just for this munificent gift, which caps many 
earlier ones, but, more important, for the great good he has done in encouraging the cre- 
ative arts in America. 

John I. H. Baur 



Statement of the Exhibition 



Early last season, it became apparent that in painting there was a movement away from the 
geometric, hard-edge, and minimal, toward more lyrical, sensuous, romantic abstractions 
in colors which were softer and more vibrant. Painters were creating, in significant numbers, 
works that were visually "beautiful" — up to then, in the art world of the sixties, a dirty word. 
Though they were not going back to any previous style, these new young painters related 
to men who have been doing painting of a painterly nature for twenty years or more — Mark 
Rothko, Robert Motherwell and others. The artist's touch is always visible in this type of 
painting, even when the paintings are done with spray guns, sponges or other objects. 
Surfaces are never anonymous as in minimal paintings; they are delicately nuanced and 
often suggestive of cloudy voids. These paintings all represent a distinct shift to an ex- 
pressive interest. As I researched this lyrical trend, I found many young artists whose paint- 
ings appealed to me so much that I was impelled to acquire many of them. The majority 
of the paintings in the Lyrical Abstraction exhibition were created in 1969, and all are a 
part of my collection now. 

Larry Aldrich 

April 1970 



The Artists 



Helene Aylon 

Victoria Barr 

James Beres 

Jake Berthot 

Dan Christensen 

David Cummings 

Carl Glicko 

John Griefen 

Carol Haerer 

Gary Hudson 

Don Kaufman 



Jane Kaufman 

Victor Kord 

Ronnie Landfield 

Pat Lipsky 

Ralph Moseley 
David Paul 
Herbert Perr 

William Pettet 

Murray Reich 

Gary Rich 
Ken Showell 



Alan Siegel 
Lawrence Stafford 
William Staples 
James Sullivan 
Herbert Schiffrin 
Shirlann Smith 
John Torreano 

Jeff Way 

Thornton Willis 

Philip Wofford 

Robert Zakanych 




11 



Helene Aylon 
Homage to Redon. 1 970 




Victoria Barr 
Surfacing. 1971 



opposite 

James Beres 

Doughnuts Whistle Two. 1 970 



12 



13 







Jake Berthot 

Hard Green. 1969 



opposite 
Dan Christensen 
Hitchhike. 1969 



14 




15 




David Cummings 
Untitled. 1969 



opposite 

Carl Gliko 

Loog. 1969 



16 



17 






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John Griefen 

Untitled. 1968 



opposite 
Carol Haerer 
Chant. 1 970 



18 




19 




Gary Hudson 
Reflex. 1 969 



opposite 

Don Kaufman 

Red Splice. 1971 



20 




Jane Kaufman 

Untitled. 1969 



22 



Victor Kord 
Untitled. 1970 








24 




opposite 

Ronnie Landfield 

Any Day Now. 1969 



25 



Pat Lipsky 
Imireml. 1971 




Ralph Moseley 
Gai's Green Sienna. 1 970 



26 



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David Paul 
Chilhcothe. 1971 




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opposite 

Herbert Perr 

Untitled. 1970 



29 



William Pettet 
Untitled. 1969 




Murray Reich 
Cave Creek. 1969 



30 



Gary Rich 

Potawatomie III. 1969 




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opposite 
Herbert Schiffrin 
Canal 7. 1970 



33 



Kenneth Showell 
Untitled. 1969 




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Shirlann Smith 
Whirls. 1969 



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Lawrence Stafford 

Untitled 1968 



36 




37 



William Staples 
12769. 1 969 




James Sullivan 
Green Camina. 1969 



38 




39 



John Torreano 
Earth View. 1 969 




Jeff Way 
Ivy's Gas. 1969 



opposite 

Thornton Willis 

Wall. 1969 



40 



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opposite 

Philip Wofford 

Accoma Return. 1969 



Robert Zakanych 
Roseout. 1969 



Catalogue of the Exhibition 

All dimensions are in inches, height preceding width 

HeleneAylon b.1953 

Homage to Redon. 1 970 

Mixed media 36 x 96 

Victoria Barr b.1937 

Surfacing. 1971 

Acrylic on canvas 69 x 85V2 

James Beres b.1 942 

Doughnuts Whistle Two. 1 970 

Acrylic on canvas 96 x 84 

Jake Berthot b.1939 

Hard Green. 1969 

Acrylic on canvas 48 x 96 

Dan Christensen b.1942 

Hitchhike. 1 969 

Acrylic on canvas 76 x 96 

David Cummings b.1937 

Untitled. 1969 
Acrylic on canvas 64 x 1 29 

Untitled. 1969 
Acrylic on canvas 98 x 1 32 

Carl Gliko b.1941 

Loog. 1969 

Acrylic on canvas 89 x 65 

John Griefen b.1942 

Untitled. 1968 
Oil on canvas 44 x 94 



44 



Carol Haerer b.1933 

Chant. 1 970 

Acrylic on canvas 95% x 9554 



Herbert Perr b.1 941 

Untitled. 1970 
Acrylic on canvas 96 x 72 



Gary Hudson b.1 936 

Reflex. 1 969 

Acrylic on canvas 84x120 

Don Kaufman b.1 935 

Red Splice. 1971 

Acrylic on canvas 73% x 84 

Jane Kaufman b.1 938 

Untitled. 1969 

Acrylic on canvas 36 x 90 

Victor Kord b.1 935 

Untitled. 1970 

Acrylic on canvas 72 x 108 



William Pettet b.1 942 
Untitled. 1968 
Acrylic on canvas 56 x 106 

Untitled. 1969 
Acrylic on canvas 76 x 144 

Murray Reich b.1 932 

Cave Creek. 1 969 

Acrylic on canvas 78 x 108 

Gary Rich b.1 943 

Potawatomie III. 1969 

Acrylic on canvas 8814 x 1 59/4 



Ronnie Landfield b.1 947 
Orange Painting 1 . 1 969 

Acrylic on canvas 108x120 
Any Day Now. 1969 

Acrylic on canvas 108x88 

Pat Lipsky b.1 941 

Imireml. 1971 
81% x 104% 

Ralph Moseley b.1 941 

Gai's Green Sienna. 1 970 

Mixed media 84 x 108 



Herbert Schiffrin b.1 944 
Canal 7. 1 970 
Acrylic on canvas 95 1 /2 x 1 07 Vi 

Kenneth Showell b.1 939 

Untitled. 1969 

Acrylic on canvas 84 x 1 1 6 

Alan Siegel b.1 938 

Cloud Box. 1969 

Acrylic on canvas 67 x 108 



David Paul b.1 943 

Chilhcothe. 1971 

Acrylic in canvas 94x127 



Shirlann Smith b.1 931 

Whirls. 1969 

Acrylic on canvas 84 x 1 20 



45 



Lawrence Stafford b.1 938 

Untitled. 1968 
Acrylic on canvas 72 x 96 

Untitled. 1968 
Acrylic on canvas 72 x 96 

William Staples b.1934 

72763. 1969 
Oil on canvas 72 x 72 

James Sullivan b 1 939 

Green Camina. 1969 

Acrylic on canvas 84x120 

John Torreano b.1941 

Earth View. 1969 

Acrylic on canvas 84 x 1 30 

Jeff Way b.1 942 

Ivy's Gas. 1969 

Acrylic on canvas 84x144 

Thornton Willis b.1 938 

Wall. 1969 
Acrylic on canvas 96 x 114 

Philip Wofford b.1 935 

Accoma Return. 1969 

Acrylic on canvas 87 x 105 

Robert Zakanych b.1 935 

Roseout. 1969 

Acrylic on canvas 80 x 1 44 



46 



Designed by Joseph Bourke Del Valle 

Printed in the United States of America 

Plates by Publicity Engravers printed 

by A. Colish. Inc.